Description
This presentation examines the evolving role of the cinematographer within VirtualProduction (VP) through a practice-based case study of a short VP film, situated within the broader shift towards real-time, LED-volume workflows in contemporary filmmaking (Bédard 2022; Chanpun 2023; Swords and Willment 2024). As the authors served as Director of Photography and Director respectively, we explore how lighting, camera operation, composition, exposure measurement, and colour reproduction unfold across the hybrid physical–virtual space, creating what we will describe a new LED VP aesthetic. The study analyses the negotiation between physical lighting fixtures, digital lighting systems, lens behaviour, and real-time camera-tracking systems and virtual-camera interfaces, drawing on production diaries, on-set lighting and exposure tests, set-design processes, colour-workflow development, and an analysis of the finished film—allowing us to synthesise these elements
and critically reflect on the cinematographic opportunities and challenges that emerged.
The VP studio used for the project integrates high-end film production equipment—
including an ARRI Alexa Mini LF, ARRI SkyPanels and Orbiters, and additional fixtures such as Aputure and Nanlite—with an LED volume driven by Unreal Engine. This set-up provides a rich context for supporting practitioners in evolving their techniques by examining how different lighting and colour systems interact with both the physical and virtual camera, as well as the LED wall, and how hardware and software can be synchronised to bridge the virtual and the real in support of artistic intention.
The presentation therefore investigates how VP reshapes traditional cinematographic
decision-making, particularly concerning exposure, matching physical and virtual light sources, maintaining colour consistency, and addressing the “translation gap” between virtual assets and in-camera results. A further dimension examined is the mediation required between physical and virtual departments: communication must occur not only between DoP and gaffer but also with virtual lighting teams, adding an additional layer of complexity (Kavakli and Cremona 2022).
Ultimately, we argue that cinematography in VP requires a clearly delineated dual
skill set: specialised knowledge grounded not only in physical optics and lighting, but also alongside emergent competencies in digital scene authoring, virtual camera navigation, and LED-volume colour science. While recent scholarship has begun to map VP workflows and their associated challenges (Bodini et al. 2024; Mitchell et al. 2025; Chen et al. 2025), specific practice-based accounts of the cinematographic challenges and the technical and creative workflows required to address them remain limited. This presentation therefore contributes to developing a model for both industry practitioners and educators teaching cinematography within VP environments, offering guidance that better supports the technical knowledge required to realise artistic intention.
| Period | 24 Jun 2026 → 26 Jun 2026 |
|---|---|
| Event title | The Cinematography of Today Conference |
| Event type | Conference |
| Location | Lisbon, PortugalShow on map |
| Degree of Recognition | International |